작품 상세

Yusof Ghani was onto the second batch of his hugely popular Siri Tari (Dance) in the transition towards Topeng (Masks), the first two of which were launched at Galeri Citra, Kuala Lumpur, and the third and last at Takashimaya Gallery, Singapore. The Tari Series was first unveiled at Galeri Citra in 1989. He had a mild stroke in 1990 but recovered to release a follow-through, and this work reveals more aggression from the postures and stances of the camouflaged bandaged figures. More static is the figure on the left, a supporter or instigator perhaps. It’s a maelstrom of movement in conflict and choppy, signifying the struggles and obstacles in life. At the same time, one could feel the swift energetic vigorous movements of the figures from all angles (front, back, side), an awesome show of liveliness, indicating things get better. Yusof Ghani was involved in art-related jobs for 10 years despite not having any formal education and even without having to go through the Mara Institute of Technology Fine Arts mill. He was artist-illustrator at the Agriculture Ministry (1967), instructor in the Fisheries Institute, Penang (1971) and a graphic artist at Radio-Television Malaysia (1977). His big break came when he got a scholarship to study for his BFA at the George Mason University in the United States (1981), and MFA at the Catholic University in Washington, USA (1983). On his return, he lectured at the Universiti ITM with the rank of Associate Professor, but unleashed some of the most memorable art series: Tari, Topeng, Wayang, Hijau, Segerak, Biring, Wajah and Ombak. He singlehandedly organised the Shah Alam Biennale involving artists from 15 countries on Sept 21-Oct 1, 2016. Yusof Ghani made his London foray with an exhibition, Segerak VI – Transcendent Figures, at the Asia House, on April 3-7, 2017. His latest solo (organised by Henry Butcher Art, Galeri Prima and PINKGUY) Segerak VIII: Utopia received good remarks and was a great success.